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Kohala in the Sanskrit textual tradition (Study)

by Padma Sugavanam | 2011 | 95,782 words

This page relates ‘Kohala and Nritya (3): The concept of Hasta� of the thesis dealing with Kohala’s contribution to the Sanskrit textual tradition of ancient Indian performing arts. The study focuses specifically on music (Gita), dance (Nritya), and drama (Natya). Although Kohala’s original works have not been found, numerous references to him across Lakshana-Granthas (treatises) and works by modern scholars indicate his significance.

Go directly to: Footnotes.

Kohala and Nṛtya (3): The concept of Hasta

1 Kapittha Hasta

तर्जनी शिखराख्यस्� वक्राङ्गुष्ठाग्रपीडिता �
यद� तद� कपित्थ� स्यात्� एवेत्य� कोहल� � �.३६� �

ٲᲹī śikharākhyasya ṅguṣṭhāgrapīḍitā |
yadā tadā kapittha� syātsa evetyaha kohala� ||
3.369 ||

�(ṅgīٲⲹṇa, Vol II, p. 572)

ʳܰṣoٳٲ Miśrā presents Kohala’s definition of the kapittha hasta. He says that�

‘According to Kohala when the forefinger of ś󲹰 is bent touching the thumb it is known as kapittha[1].

The author also gives another definition for the kapittha hasta from the work ṅgīٲ첹貹ٲ.

सङ्गीतकल्पतरौ तु- अङ्गुष्ठवामभाग� तु तर्जनी पीडयेद्यदि � इत्युक्तम्,

saṅgītakalpatarau tu- aṅguṣṭhavāmabhāga� tu ٲᲹī pīḍayedyadi | ityuktam,

ṅgīٲⲹṇa: 2009: Vol. II: p. 574

According to ʳܰṣoٳٲ Ѿś, the kapittha hasta is to be used to depict bows and arrows, discus, spears called tomar and kunta, mace, javelin, thunderbolt, shield, axe and others.

He also mentions an interchangeable relationship between the kapittha and ś󲹰 hastas.

शरचापचक्रतोमरकुन्तगदाशक्तिवज्रचर्माण� �
शस्त्राण्यभिनेयानितु कार्यं मिथ्या � सत्य� � � �.३७� �
परशुतुर्यादिकमपि यद� खल� भल्लादिक� चापि �
केचित्तु शिखरकपित्थावितरे कार्यकारिण� प्राहु� � �.३७� �

śaracāpacakratomarakuntagadāśaktivajracarmāṇi |
śastrāṇyabhineyānitu kārya� mithyā ca satya� ca ||
3.370 ||
paraśuturyādikamapi yadi khalu bhallādika� cāpi |
kecittu ś󲹰kapitthāvitare kāryakāriṇau prāhu� ||
3.371 ||

ṅgīٲⲹṇa: 2009: Vol. II: p. 574

Bharata’s definition of the kapittha hasta coincides with the definition of Kohala presented in this work:

अस्यैव शिखराख्यस्� ह्यङ्गुष्ठकनिपीडिता �
यद� प्रदेशिनी वक्र� � कपित्थस्तद� स्मृतः � �.५९ �
असिचापचक्रतोमरकु न्तगदाशक्तिवज्रवर्गाणि �
शस्त्राण्यभिनेयानि तु कार्यं पथ्य� � सत्य� � � �.६० �

asyaiva śikharākhyasya hyaṅguṣṭhakanipīḍitā |
yadā pradeśinī sa kapitthastadā smṛta� |
9.59 ||
asicāpacakratomaraku ntagadāśaktivajravargāṇi |
śastrāṇyabhineyāni tu kārya� pathya� ca satya� ca ||
9.60 ||

ṭyśٰ of Bharatamuni: 2001: GOS Vol. II: p. 40

M. M. Ghosh translates the term kapittha as the elephant-apple gesture and explains that it is represented by the thumb pressing a bent forefinger of the ś󲹰 hasta.

The same definition is also found in Ի徱ś’s 󾱲Բⲹ岹貹ṇa.

अङ्गुष्ठमूर्ध्निशिखर� वक्रित� यद� तर्जनी � ३०६च्द� �
कपित्थाख्य� कर� सोऽय� कीर्तितो नृत्तकोविदैः � ३०७अब् �

aṅguṣṭhamūrdhniśikhare vakritā yadi ٲᲹī || 306cd ||
kapitthākhya� kara� so'ya� kīrtito ṛtٲkovidai� ||
307ab ||

—󾱲Բⲹ岹貹ṇam of Ի徱ś: 1997: p.191

It is interesting to note that though the definitions of Bharata and Kohala in the case of the kapittha hasta are the same, ʳܰṣoٳٲ Miśrā has opted to mention Kohala’s opinion instead of Bharata’s.

2 Nṛtta hasta

चतुरश्रावथोद्वृत्त� हस्त� तलमुखाभिदौ � ८४च्द् �
स्वस्तिक� विप्रकीर्णाख्यावरालकटकामुखौ �
आविद्धवक्त्र� सूच्यासौ रेचितावर्धरेचितौ � ८५ �
नितम्ब� पल्लवौ केशबन्धावुत्तानवंचित� �
लताख्य� करिहस्तश्च पक्षवंचितकाभिध� � ८६ �
पक्षप्रद्योतकौ दण्डपक्ष� गरुडपक्षकौ �
ऊर्ध्वमण्डलिनौ हस्तौपार्श्वमण्डलिनावप� � ८७ �
उरोमण्डलिन� स्यातामुरः पार्श्वार्धमण्डल� �
मुष्टिकस्वस्तिकावन्य� नलिनीपद्मकोशक� � ८८ �
अलपद्मावुल्वणौ � वलित� ललितावित� �
नृत्तहस्ता मतास्त्रिंशन्नृत्तप्राया� प्रसिद्धित� � ८९ �
एतानभिनयेऽप्याहुराचार्या� कोहलादयः �
शास्त्रेषु सम्प्रदायेषु प्रयोज्यन्ते विचक्षणै� � ९० �

caturaśrāvathodvṛttau hastau talamukhābhidau || 84cd ||
svastikau viprakīrṇākhyāvarālakaṭakāmukhau |
屹󲹱ٰu sūcyāsau recitāvardharecitau ||
85 ||
nitambau pallavau keśabandhāvuttānavaṃcitau |
khyau karihastaśca pakṣavaṃcitakābhidhau ||
86 ||
貹ṣadzٲ첹u 岹ṇḍ貹ṣau ḍa貹ṣakau |
ū󱹲ṇḍau hastauśṇḍāvapi ||
87 ||
ܰdzṇḍau syātāmura� pārśvārdhamaṇḍalau |
muṣṭikasvastikāvanyau Բī貹峾śkau ||
88 ||
alapadmāvulvaṇau ca valitau lalitāviti |
ṛtٲhastā matāstriṃśanṛtٲprāyā� prasiddhita� ||
89 ||
etānabhinaye'pyāhurācāryā� kohalādaya� |
śāstreṣu sampradāyeṣu prayojyante vicakṣaṇai� ||
90 ||

�(ṅgīٲūǻ岹ⲹ, Chapter II, p.128)

Lakṣminārāyana, in the above verses list out the names of the ṛtٲ󲹲ٲ. They are:

  1. ٳܰś;
  2. ܻ屹ṛtٲ;
  3. talamukha;
  4. svastika;
  5. īṇa;
  6. ṭa峾ܰ;
  7. 屹󲹱ٰ;
  8. ūīܰ;
  9. recita;
  10. ardharecita;
  11. nitamba;
  12. pallava;
  13. śԻ;
  14. ܳٳԲñٲ;
  15. ;
  16. karihasta;
  17. 貹ṣañٲ;
  18. 貹ṣadzٲ첹;
  19. 岹ṇḍ貹ṣa;
  20. ḍa貹ṣa;
  21. ū󱹲ṇḍ;
  22. śṇḍ;
  23. ܰdzṇḍ;
  24. ܰḥpś󲹳ṇḍ;
  25. ṣṭ첹پ첹;
  26. Բī貹峾ś;
  27. alapadmaka;
  28. ܱṇa;
  29. valita;
  30. lalita;

Having listed the thirty varieties of ṛtٲ hastas, ṣmīⲹṇa mentions that Kohala and others 峦ⲹ have said that these ṛtٲ hastas should be used in abhinaya also by ones skilled in the art of dance, by following the rules (śٰ) and traditions (). ṣaṇaԳٳ󲹲, right from the time of Bharata have prescribed the use of ṛtٲ hastas for representation as well. ṣmīⲹṇa adds Kohala also into this list.

3.1 Adhika hasta (󾱲Բī)

क्वचित्त� हस्तसदृशहस्तानन्तरस्वीकारा� हंसपक्षश्च सन्दंश इत�
सन्दंशशब्दान्तरं चकारेण
अङ्गुष्ठमध्यमाग्रनिष्पॶडिताग्रमर्मतर्जनॶलक्षणोऽप�
शून्यभास्वरविद्युदाद्यभिनयविषय� नृत्ताचार्यप्रवाहसिद्ध�
कोहललिखितोऽप� हस्त� सङ्गतो भवतीति हस्तानन्तराण्युत्प्रेक्षाण� � ते त्वसंयुत� अप� भवन्ति �

kvacittu hastasadṛśahastānantarasvīkārāya ṃs貹ṣaśca Ի岹ṃśa iti
Ի岹ṃśaśabdāntara� cakāreṇa
aṅguṣṭhamadhyamāgraniṣpīḍitāgramarmaٲᲹīlakṣaṇo'pi
śūԲⲹbhāsvaravidyudādyabhinayaviṣaye nṛttācāryapravāhasiddha�
kohalalikhito'pi hasta� saṅgato bhavatīti hastānantarāṇyutprekṣāṇi | te tvaṃyܳ api bhavanti |

�(󾱲Բī, Commentary on 9.6, GOS Vol. II, p.26)

The above is a commentary on the following verse of Bharata where he is enumerating the ṃyܳٲ hastas.

काङ्गूलकोऽलपद्मश्च चतुर� भ्रमरस्तथा �
हंसास्यो हंसपक्षश्च सन्दंश� मुकुलस्तथा � �.� �

kāṅgūlako'lapadmaśca caturo bhramarastathā |
haṃsāsyo ṃs貹ṣaśca sandaṃśo mukulastathā ||
9.6 ||[2]

Abhinavagupta interprets the � between ṃs貹ṣa and Ի岹ṃśa (in the above verse) to indicate additional hastas that have been mentioned by great nṛtt峦ⲹ such as Kohala. He gives the example of one saying that this hasta is performed by using the tip of the middle finger to squeeze the thumb and the middle finger. He also gives the viniyoga of this hasta saying that it can be used to depict śūԲⲹ (void), effulgence and lightning. Abhinava says that it is only proper that such hastas which have been mentioned by other great authorities like Kohala be included along with those mentioned by Bharata. He says that these could be of the ṃyܳٲ variety also. Therefore, many other hastas (especially the ones mentioned by Kohala), are to be visualized along with the ones that have been mentioned by Bharata. It is interesting that Abhinava gives a clear description of this hasta of Kohala along with its viniyoga, but does not mention its name. It is common to find lists of names of many technical aspects without any explanation/ definition. It is perhaps in this rare instance that an explanation of a hasta without its name is found.

It is interesting to note that there are many ca-s in the list of ṃyܳٲ hastas. Why does Abhinava pick out this particular ca- (the one between ṃs貹ṣa and ṃdṃśa hasta) to indicate the inclusion of some extra hastas? What could be its significance? Perhaps this particular gesture bears some similarities to these two hastas.

This statement of Abhinava strengthens the theory that there indeed were other schools of ṭy that were flourishing at the time of Bharata, prominent among these being the school of Kohala. And from the hints that Abhinavagupta drops, it can be inferred that Kohala’s work was one of great detail and depth and he had explained many subjects (even those that fell under the head of ) that Bharata left unsaid. Abhinavagupta does not seem to use the term �adhika hasta� for these additional hand gestures, though this term is found in later works such as ṅgīٲٲ첹, ṛtⲹ etc. Even though works like ṅgīٲٲ첹 speak of adhika hastas, none of those matches the description of Abhinava found here.

3.2 Adhika hasta (󾱲Բī)

असंयुत� इत� � असंयुतास्तावदेते भवन्ति � नत्वेतेऽसंयुता एव � नाप्ये� एव कोहलादिभिरन्येषा� दर्शनात् �

aṃyܳ iti | aṃyܳstāvadete bhavanti | natvete'ṃyܳ eva | nāpyeta eva kohalādibhiranyeṣāṃ darśanāt |

(󾱲Բī, Commentary on 9.126, GOS Vol. II, p.55)

Having completed his exposition on ṃyܳٲ hastas, Bharata says�

असंयुताः कर� ह्येते मय� प्रोक्ता द्विजोत्तमाः �
अतश्� संयुतान् हस्तान� गदतो मे निबोधत � �.१२� �

aṃyܳ� hyete proktā dvijottamā� |
ataśca ṃyܳn hastān gadato me nibodhata ||
9.126 ||[3]

At this juncture, Abhinavagupta tries to point out that these are not the only ṃyܳٲ hastas. He says that this is so, because Kohala and others have shown many other hastas. This is another mention of extra hastas described by Kohala that Abhinavagupta brings out. Like the previous extract, this one also appears to be linked to the ṃyܳٲ hastas. Could that mean that Kohala described extra varieties of the ṃyܳٲ hastas alone and not the ṃyܳٲ or ṛtٲhastas? Also this mention of hastas is yet another clear indication that Bharata’s was not the only tradition in vogue in the ancient times. But only this tradition has come down to us. Though there seem to have been many hastas which were being used (in ṣy), there is not much documentation of any, except the ones mentioned by Bharata. Even Abhinava does not mention the names of all the other hastas or make out a list of adhika hastas that were current in his time. By the time of ṅgīٲٲ첹, the concept of including additional hastas seems to have entered the ṣaṇa .

Śṅg𱹲 mentions three extra hastas Բ�

  1. Ծñ첹,
  2. dviś󲹰 and
  3. 󲹲ⲹ.

Later works like ṛtⲹ and ṛtٲٲ屹ī also list out a few adhika hastas.

3.3 Adhika hasta (ṅgīٲⲹṇa)

तथोक्त� ये मतङ्गाद्यैरधिक� तान् प्रचक्ष्मह� � �.५३� �
असंयुतास्त्रिशिखोऽर्धमुष्टिर्वृषभवृश्चिक� �
कलिहस्तः संयुताद्यास्त्रि संख्यावबोधका� � �.५३� �
पताकस्� तु हस्तस्� यद� वक्र� कनीयसी �
तद� स्यात् त्रिशिखो योज्यस्त्रिशिखावति वस्तुन� � �.५३� �
इत� त्रिशिखः निपीड्याङ्गुष्ठमध्यान्तं मध्यपर्वद्वयेन तु �
प्रदेशिनीमध्यमयोरर्� मुष्ठि� कर� मत� �
दोहन� स्यान्महिष्युष्ट्रयो� शृङ्गचापापकर्षणे � �.५३� �
इत्यर्धमुष्टिः अनामिक� कनीयस्यावुपर्यङ्गुष्ठपीडिते �
शेषे यत्रोर्ध्वविरल� कुटिलो वृषभ� कर� � �.५३� �
गो महिष्यादयः शृङ्गयुजोऽन्ये श्वापादाश्� ये �
दर्शनीया मुनिश्रेष्� धेनुर्द्वौ खटकामुखौ � �.५३� �
तथ� वत्सतरी वत्सावर्धचन्द्रावधोमुखम् �
जानुनोर्निकट� कृत्वा अभिनेय� सुबुद्धिना � �.५३� �
इत� वृषभ� कपित्थस्� यदाङ्गुष्ठ� मध्यमोपरिपीडितः �
तदोक्त� वृश्चिकस्तेन कुन्ताङ्कुशकुठारकम� � �.५३� �
कुद्दालं लाङ्गल� शस्त्र� पेरणाद� � दर्शयेत् �
इत� वृश्चिकः तर्जन्यौ तिर्यगाकार� मिथुनं मध्यपर्वणि �
ईषच्� कुटिले सूच्यौ तदोक्त� कलिहस्तक� � �.५३� �
कलहे विग्रह� द्वेषे प्रयोज्य� शत्रुदर्शन� �
इत� कलिहस्तः केचिदाहुर्द्विशिखर� शिखरद्वयसंयुते �
शपनार्थाङ्गुलिस्फोटे स्त्रीणामनुमतेस्तथ� � �.५३� �
नास्तित्यर्थ� तु संयोज्ये वियुक्तं शिखरद्वयम् �
इत� मतङ्गकोहलोक्ता� अधिकहस्तका�

tathoktā ye mataṅgādyairadhika� tān pracakṣmahe || 3.530 ||
aṃyܳstriśikho'rdhamuṣṭirṛṣ󲹱ṛśc첹u |
kalihasta� ṃyܳdyāstri saṃkhyāvabodhakā� ||
3.531 ||
貹첹sya tu hastasya yadi kanīyasī |
tadā syāt triśikho yojyastriśikhāvati vastuni ||
3.532 ||
iti ٰś� nipīḍyāṅguṣṭhamadhyānta� madhyaparvadvayena tu |
pradeśinīmadhyamayorardha muṣṭhi� karo ٲ� |
dohane syānmahiṣyuṣṭrayo� śṛṅgacāpāpakarṣaṇe ||
3.533 ||
ٲⲹ󲹳ṣṭ� kanīyasyāvuparyaṅguṣṭhapīḍite |
śeṣe yatrordhvavirale kuṭilo ṛṣ� kara� ||
3.534 ||
go mahiṣyādaya� śṛṅgayujo'nye śvāpādāśca ye |
darśanīyā muniśreṣṭha dhenurdvau khaṭakāmukhau ||
3.535 ||
tathā vatsatarī vatsāvardhacandrāvadhomukham |
jānunornikaṭa� kṛtvā abhineyau subuddhinā ||
3.536 ||
iti ṛṣ� kapitthasya yadāṅguṣṭho madhyamoparipīḍita� |
tadokto ṛśc첹stena kuntāṅkuśakuṭhārakam ||
3.537 ||
ܻ� ṅg� śٰ� peraṇādi ca darśayet |
iti ṛśc첹� tarjanyau tiryagākāre ٳܲԲ� madhyaparvaṇi |
īṣacca kuṭile sūcyau tadokta� kalihastaka� ||
3.538 ||
kalahe vigrahe dveṣe ⲹ� śatrudarśane |
iti kalihasta� kecidāhurdviś󲹰� ś󲹰dvayasaṃyute |
śapanārthāṅgulisphoṭe strīṇāmanumatestathā ||
3.539 ||
nāstityarthe tu saṃyojye ܰٲ� ś󲹰dvayam |
iti mataṅgakohaloktā� adhikahastakā�

(ṅgīٲⲹṇa, Vol. II, p. 654-658)

ʳܰṣoٳٲ Miśrā describes five varieties of additional hastas according to the views of Ѳٲṅg and Kohala. It is interesting that Ѳٲṅg has been brought in as an authority on ṛtٲ. The available text of ṛhśī does not have the chapter on dance. Ѳٲṅg-s views on dance can be seen in later works (like ṅgīٲᲹ etc.). As seen earlier, from the time of Abhinavagupta, Kohala is known to have spoken of many hastas that were not a part of the tradition of Bharata. ʳܰṣoٳٲ Miśrā, in his work gives the names and definitions of some of these additional hastas that Kohala has spoken of.

ʳܰṣoٳٲ Miśrā says that he will give an account of the hastas that have been described by Ѳٲṅg and others.

The single-handed gestures are

  1. ٰś,
  2. 󲹳ṣṭ,
  3. ṛṣ,
  4. ṛśc첹 and
  5. kalihasta.

When both hands are joined, it is used to indicate happiness and numbers.

հś is when the little finger of the 貹첹 hand is bent. This hasta is used to indicate three-headed objects. When the thumb is pressed with the forefinger and the middle finger, it is known as the 󲹳ṣṭ. This is is used to indicate milking and dragging a buffalo or a camel by holding their horns. When the ring and little fingers are pressed by the thumb and the rest of the fingers are separated, extended and curved, it is known as the ṛṣ hasta. This hasta is used to indicate cows, buffaloes and other animals with horns are shown. Vṛṣabha hasta is when two khaṭakāmukha hastas are used to indicate cowsed to enact the weaning of calves, young calves. When the ardhacandra hasta pointing downwards are brought down near the knee, it is called ṛṣ hasta.

Vṛścika hasta is when the thumb of a kapittha hand presses on the middle finger. This hasta is used to indicate a spear, a hook, an axe, a spade, a plough, a weapon, a ṇa dance etc.When two forefingers of ūī hands are joined obliquely at the middle-joint and are slightly bent, it is known as the kali hasta. It is used in quarrel, fighting, envy and in pointing at an enemy. ʳܰṣoٳٲ Miśrā says that the dviś󲹰 hasta is performed by joining two ś󲹰 hastas. It is used in cursing, cracking the fingers and in asking for approval from a woman. The ś󲹰 hasta, when joined and then separated, indicates negation. He says that these extra hand-gestures have been told by Ѳٲṅg and Kohala[4].

It is interesting to note that ṅgīٲⲹṇa does not mention the adhika hastas such as Ծñ첹 and 󲹲ⲹ which are found in earlier works such as ṅgīٲٲ첹. The gesture called dviś󲹰 alone has been explained by ʳܰṣoٳٲ Miśrā and that too after the other five have been explained.

Kohala appears to have a strong link to these adhika hastas. Right from the time of Abhinava there has been mention of Kohala in relation to this subject. Kohala perhaps used several more hand gestures, many of which were not found in the tradition of Bharata. What is interesting is that though there has been mention of Kohala’s adhika hastas in 󾱲Բī and ṅgīٲⲹṇa, each account seems to be different from the others.

Footnotes and references:

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[1]:

ṅgīٲⲹṇa: 2009: Vol. II: p. 573

[2]:

ṭyśٰ of Bharatamuni: 2001: GOS Vol. II: p.26

[3]:

ṭyśٰ of Bharatamuni: 2001: GOS Vol. II: p.55

[4]:

ṅgīٲⲹṇa: 2009: Vol II: pp. 655-659

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